Costumes of Tero Saarinen
On the examples of "Hunt" (2002) and "Borrowed Light" (2004). The costumes are thought by his collaborator Erika Turunen.
Hunt was commissioned by C.Carlson for Venice Dance Biennale. In a phrase he moves his arms backwards recalling the movements of a swan. In an interview, Saarinen specified that this element is connected with the image of an aging dancer. What does it mean for a dancer to get old? This is a crucial and painful question that entails a deep awareness of what one's body can do, what its limits are, and how its limits change with the aging process. The transparent skirt lighted from behind evokes the body quite apparently. And pragmatic.
The other tut-like skirt falls from above as a cloud. It is bulker that the 1st but has also an architectural quality. Light and flowing. It also serves the screen. This aspect of the piece reflects... unbalanced relationship between people and information and a risk of losing one's own identity and roots if overtaken by it.
Borrowed Light is inspired by the Shakers, a religious community established in England in XVIII century, later emigrating in US (officially - the United Society of Believers in Christ's Second Appearing). It admitted female ministry; predicated chastity for the members; it danced during the rituals. One of their recurrent exercises was the act of shaking in order for them to "shake off 'doubts' and mortify the lust of the flesh" (Ed.D. Andrews). Saarinen was fascinated by their "form of function' philosophy" and by the austerity of their communities.
Saarinen also thought of the idea of dualism, which was to do with being drawn to towards heaven and being rooted on earth at the same time. This led to the creation of lots of beating steps that recur in the piece. It also materialized in the costumes made of black see-through and bulky material which, in Saarinen's words, "created beautiful friction".
On the examples of "Hunt" (2002) and "Borrowed Light" (2004). The costumes are thought by his collaborator Erika Turunen.
Hunt was commissioned by C.Carlson for Venice Dance Biennale. In a phrase he moves his arms backwards recalling the movements of a swan. In an interview, Saarinen specified that this element is connected with the image of an aging dancer. What does it mean for a dancer to get old? This is a crucial and painful question that entails a deep awareness of what one's body can do, what its limits are, and how its limits change with the aging process. The transparent skirt lighted from behind evokes the body quite apparently. And pragmatic.
The other tut-like skirt falls from above as a cloud. It is bulker that the 1st but has also an architectural quality. Light and flowing. It also serves the screen. This aspect of the piece reflects... unbalanced relationship between people and information and a risk of losing one's own identity and roots if overtaken by it.
Borrowed Light is inspired by the Shakers, a religious community established in England in XVIII century, later emigrating in US (officially - the United Society of Believers in Christ's Second Appearing). It admitted female ministry; predicated chastity for the members; it danced during the rituals. One of their recurrent exercises was the act of shaking in order for them to "shake off 'doubts' and mortify the lust of the flesh" (Ed.D. Andrews). Saarinen was fascinated by their "form of function' philosophy" and by the austerity of their communities.
Saarinen also thought of the idea of dualism, which was to do with being drawn to towards heaven and being rooted on earth at the same time. This led to the creation of lots of beating steps that recur in the piece. It also materialized in the costumes made of black see-through and bulky material which, in Saarinen's words, "created beautiful friction".
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